. Shakespeare on the stage. O a- << 3 H « Q - 9 THE MERCHANT OF VENICE 215 as when she said, in the first colloquy with Nerissa,I know it is a sin to be a mocker,—an exquisitecharm. During the Casket Scenes she expressed atremulous solicitude, peculiarly animative of sym-pathy, and her simulation of delight, combined withfeminine delicacy and a maidenly restraint of ardor,in Portias self-surrender to the fortunate Bassanio,was supremely artistic. The reply to Nerissasreminiscent remark about the Venetian scholar andsoldier who came in company with the Marquis ofMontferrat, Yes, yes, it w

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. Shakespeare on the stage. O a- << 3 H « Q - 9 THE MERCHANT OF VENICE 215 as when she said, in the first colloquy with Nerissa,I know it is a sin to be a mocker,—an exquisitecharm. During the Casket Scenes she expressed atremulous solicitude, peculiarly animative of sym-pathy, and her simulation of delight, combined withfeminine delicacy and a maidenly restraint of ardor,in Portias self-surrender to the fortunate Bassanio,was supremely artistic. The reply to Nerissasreminiscent remark about the Venetian scholar andsoldier who came in company with the Marquis ofMontferrat, Yes, yes, it was Bassmiio beingspoken with eager joy, which instantly became reserve,tinged with a delicate self-consciousness, when sheadded, As I tlmik—so was he called, and turned tosweet gravity as she concluded, I remember himwell, and I remember liim worthy of thy , however, is not (at least, it is not ingreat natures) the chief object of life. Portia isunselfish. She thinks of others, and cares for was

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Keywords: ., bookcentury1900, bookdecade1910, booksubjectshakespearewilliam15